The original words were composed in Greek as a Cherubic offertory hymn for the Divine Liturgy of St. James, 4th Century A. D. (Σιγησάτο παρα σὰρξ βροτεία); translated from Greek to Eng lish by Gerard Moultrie, 1864. The music is Picardy, a French medieval folk melody. Additional information about this hymn can be found on wikipedia.

Although only the opening line is the only one heard in this arrangement, the entire lyrics are included here.

Let all mortal flesh keep silence,
And with fear and trembling stand;
Ponder nothing earthly minded,
For with blessing in His hand,
Christ our God to earth descendeth,
Our full homage to demand.

King of kings, yet born of Mary,
As of old on earth He stood,
Lord of lords, in human vesture,
In the body and the blood;
He will give to all the faithful
His own self for heavenly food.

Rank on rank the host of heaven
Spreads its vanguard on the way,
As the Light of light descendeth
From the realms of endless day,
That the powers of hell may vanish
As the darkness clears away.

At His feet the six wingèd seraph,
Cherubim with sleepless eye,
Veil their faces to the presence,
As with ceaseless voice they cry:
Alleluia, Alleluia
Alleluia, Lord Most High!

Arrangement and orchestrations by Ricky Tims, published by Ricky Tims Music/BMI  2009 All Rights Reserved.

Ricky Tims plays piano, Native American flute, keyboards, wind chimes, and sings all vocals

Strings
Violins: David Davidson, David Angell, Pamela Sixfin, Connie Ellisor, Mary Katherine Vanosdale, and Karen Winklemann. 
Violas: Jim Grosjean, Monisa Angell, Betsy Lamb. 
Cellos: John Catchings and Anthony La Marchina. 
Bass: Jack Jezioro

This song/hymn was suggested to me for the album by my friend Susan Cusenbary. In fact, she had put two songs on her wish list and I proceeded to work on her other suggestion (Personent Hodie), not this one. Eventually, with more urging from Susan, I decided to work on this piece - almost as an afterthought - not really thinking I'd progress to the point that it would become fully arranged for the project. However, in the end, this piece developed a mind of its own and it led me on all the creative and orchestral decisions I made along the way.

I could not recall this hymn, even though I had an extensive background in liturgical music. Because it was so new to me, I chose to jot down the melody and divorce myself from harmonies normally associated with with the hymn. By refraining from learning the traditional harmony, I was able to infuse my own harmonic progressions and interpret the song without any outside influence.

The Native American flute that I used for the beginning is pentatonic and cannot normally play this melody. However, using creative fingering and utilizing 'half-holes' when necessary, I was able to accomplish it.